Tahsin Rahman

Tahsin Rahman’s filmography is a bit like a mixed bag of tricks—never boring, that's for sure. You’ve got “Sydney Sleuthers” from 2019, which is basically a wild ride through the sticky underbelly of Sydney. It’s got a couple of amateur detectives stumbling into a web of secrets they probably wish they’d never seen. The whole thing feels like someone tossed a crime novel and a buddy comedy into a blender, then hit puree. The pacing zips along, and honestly, some of the dialogue is sharp enough to draw blood. Then there’s “Pett Kata Shaw” (2022), which is totally different. This one leans hard into Bangladeshi folklore, serving up a bunch of spooked-out short stories that’ll make you check under your bed at night. The visuals? Super moody—think shadows everywhere and sound design that crawls under your skin. It’s not afraid to get weird, either. There’s a mythic vibe running through the whole thing, and the way it plays with fear is actually pretty clever. Oh, and let’s not ignore “Searching for Babel” from 2017. That one’s more introspective, digging into the messiness of identity and what it means to belong. Lots of wandering city streets, lost-in-thought characters, and moments that linger a bit longer than you’d expect. The pacing is slower, almost meditative, but if you’re patient, it pays off. Altogether, Rahman’s projects jump genres but always keep you guessing, never letting anything get too predictable.